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SAMUEL   ARTHUit   K1I*G 


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SITY  OF  CALIFORNIA 
LOS  ANGELES 


GIFT  OF 

Helen   Gal  civ/ell 


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GRADUATED   EXERCISES 
IN   ARTICULATION 


GRADUATED  EXERCISES 
IN    ARTICULATION 

BY 
SAMUEL  ARTHUR  KING,   M.A. 

(University  of  London) 

First  in  Honours  at  Matriculation  with  the  University  Fxhibition, 
Honours  in  English  and  Anglo-Saxon  Literature  at  the  final  B.A. 

LECTURER   AT    BRYN    MAWR    COLLEGE,   LATE    SPECIAL 

LECTURER  IN   SPEAKING  AT  JOHNS  HOPKINS 

UNIVERSITY  AND  AT  THE  UNIVERSITY 

OF  CALIFORNIA,  ETC.,  ETC. 


BOSTON 

SMALL,   MAYNARD  d^•  COMPANY 

1915 


Copyright,  igos,  by 
Samuel  Arthur  King 


Entered  at  Stationers'  Hah 


The  Uni'versity  Press 
Cambridge,  U.  S.  A. 


AT  K5 


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TABLE   OF   CONTENTS. 


CO 

^  Page 

^  Introduction vii 

fi  I.     The  Breath  in  Articulation      ...       1 

^  II.     The  "Powers'^  of  Consonants       .     .       3 

III.  Some  Redundancies  of  the  Written 
Alphabet 4 

IV.  TheFormation  of  Consonant  Sounds,       5 
V.     The  Rhythmical    Method    of    Oral 

Gymnastics 20 

VI.     Dual  Articulations 32 

Vn.     Treble  Articulations 69 

VIII.     Quadruple  Articulations      ....  75 

IX.     Quintuple  Articulations       ....  78 

X.     Sextuple  Articulations 80 

XI.     The    Importance    of    Nasals     and 

Vocals  in  Speech 81 

XII.     Conclusion 84 


[v] 


INTRODUCTION. 


The  sets  of  exercises  in  articulation  on 
the  following  pages  were  drawn  up  pri- 
marily for  the  use  of  my  own  students, 
and  are  not  intended  to  be  practised  at 
first  without  an  instructor.  The  most 
superficial  observer  of  our  common 
speech  cannot  but  be  struck  with  the 
undue  prevalence  of  slovenly  articula- 
tion, not  only  on  the  part  of  the  younger 
generation,  but  also  amongst  those 
charged  with  the  duties  of  teaching  and 
public  speaking.  Our  manner  of  speech, 
that  most  vital  element  of  our  education, 
has  been  allowed,  as  Mr.  Henry  James 
said  in  a  recent  address  at  Bryn  Mawr, 
to  "run  wild,  to  shift,  as  we  say,  all  for 
itself,  to  stumble  and  flounder,  through 
mere  adventure  and  accident,  in  the  com- 
mon dust  of  life,  to  pick  up  a  living,  in 
fine,  by  the  wayside  and  the  ditch." 

All  this  is  undoubtedly  true.  In  so- 
ciety no  excuse  is  made  for  slovenly  man- 

Lvii] 


GRADUATED   EXERCISES  IN  ARTICULATION 

ners   or  dress,   yet   considerable  latitude 
has  unfortunately  been  granted  to  slov- 
enly articulation.     The  natural   effect  of 
this  attitude  on  the  part  of  the  well-bred 
world  upon  youth  is  only  too  clear.     The 
advantages   of  a  graceful,   clean-cut  ar- 
ticulation  seldom   enter   into   the   calcu- 
lations of  the  average  student.     Young 
ladies  spend  hours  of  careful  considera- 
tion upon  the  shades  of  their  gowns  and 
the  shapes  of  their  hats,  and  young  men  are 
fastidious  to  a  degree  about  the  shades 
of  their  neckties;  but  with  regard  to  the 
shades  of  their  vowel  sounds  and  correct 
shapes  of  their  consonants — the  distinc- 
tive  hall-marks   of  good   breeding — they 
have  little   or  no   care.      Evidently  they 
lose  sight  of  the  fact  that  it  is  just  as 
essential   to  please  the  ear  as  the  eye. 
Students  are  perfectly  willing  to  spend 
years  abroad  in  order  to  acquire  a  purity 
of  sound   in  foreign   languages;    but   in 
the  case  of  their  own  beautiful  mother 
tongue  they  are  content  with  speaking  in 

[viii] 


INTRODUCTION 


a  manner  that  can  only  be  characterised 
as  a  disgrace  to  an  educated  man  or 
woman. 

And  the  apathy,  too,  of  most  educa- 
tional authorities  to  the  importance  of  the 
niceties  of  articulation,  and  their  bearing 
on  the  subject  of  education,  is  the  more 
to  be  condemned  when  it  is  considered 
how  easily  the  subject  can  be  taught. 
The  muscles  of  the  tongue  can  be  brought 
just  as  effectively  under  the  control  of  the 
will  as  can  the  muscles  of  the  hands 
and  fingers.  When  uncouth  articulations 
have  been  formed  early  in  life — due,  more 
often  than  not,  to  sympathetic  imitation 
of  the  habits  of  those  that  should  know 
better — the  cure  will  be  found  to  lie  in 
the  systematic  practice  of  the  individ- 
ual elements  of  speech.  Faults  of  ar- 
ticulation are  so  often  disguised  in  words 
that  their  adequate  correction  is  only 
possible  by  this  analytical  process.  With 
frequent  repetition  the  correct  manner  of 
action  can  easily  be  rendered  an  auto- 


GRADUATED  EXERCISES  IN  ARTICULATION 

matic  habit.  In  the  first  instance,  the 
trained  teacher  must  diagnose  what  is 
wrong  in  the  pupil's  articulation,  and  then 
illustrate  such  sets  of  exercises  as  will 
effect  the  remedy.  The  pupil,  having  as- 
certained the  correct  way,  must  practise 
unremittingly  to  acquire  the  unconscious 
habit.  This  mechanical  dexterity  is  en- 
tirely a  matter  of  hard  work,  and  is  within 
the  power  of  most  pupils  with  a  reason- 
able amount  of  application.  My  ex- 
perience has  taught  me  that  the  principal 
cause  of  lax  articulation  is  due,  not  to 
any  natural  inability  of  the  vocal  organs, 
but,  as  I  have  said  above,  to  the  early 
formation  of  a  wrong  habit. 

Lisping  and  dropping  of  the  tongue, 
the  confusion  of  the  aspirates  with  the 
vocals,  the  total  lack  of  vibration  in  the 
vocal  consonants,  the  omission  of  con- 
sonants, final  and  otherwise,  the  ugly  pro- 
jection of  the  lips  in  SH,  and  of  the  tongue 
in  TH,  the  laxity  of  the  F  and  V,  the  flat- 
ness of  the  W,  the  excess  of  aspiration 

[X] 


INTRODUCTION 


in  T,  P,  or  K, — all  very  common  faults 
in  everyday  speech, — should  be  remedied 
effectually  by  a  teacher's  competent  di- 
rection of  the  following  exercises.  No 
originality  is  claimed  on  my  part  for  the 
methods  I  have  set  forth.  Scientific  word- 
building  or  synthetic  combination  of  ar- 
ticulative  elements  has  long  been  known 
to  the  best  teachers ;  in  my  compilation  I 
have  been  particularly  indebted  to  the  re- 
searches of  Rush  and  Bell,  and  to  my 
training  of  seven  years  under  the  late 
Professor  John  Millard,  of  the  Royal 
Academy  and  Royal  College  of  Music, 
London.  What  I  have  tried  to  do  is 
to  meet  the  needs  of  teachers  and  stu- 
dents for  comprehensive  sets  of  exercises 
handy  in  form  and  suitable  for  daily 
practice. 

SAMUEL  ARTHUR   KING. 


Bryn  Mawr  College, 
November,  1905. 


[xi] 


Section  I. 
THE   BREATH   IN  ARTICULATION. 

Two  kinds  of  breath  are  used  in  speech. 
The  breath  either 

(I)  passes  unmodified  through  the 
larynx,  just  as   in  mere  breathing, 

or 

(II)  is  modified  by  vibration  of  the 
vocal  chords,  and  so  rendered  musi- 
cal. 

When  the  first  kind  of  breath  (I)  is 
used  in  the  production  of  a  consonant, 
an  aspirate  is  the  result. 

When  the  second  kind  of  breath  (II) 
is  used,  and  passes  out  through  the 
mouthy  a  vocal  results. 

If,  however,  this  vibrated  breath  passes 
through  the  nosey  sl  nasal  results. 


[I] 


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Section  II. 
THE   "POWERS"   OF   CONSONANTS. 

Each  aspirate  in  the  table  on  the  pre- 
ceding page  has  a  corresponding  vocal, 
and,  in  the  cases  of  T,  P,  K,  two  corre- 
spondences,— a  vocal  and  a  nasal.  The 
same  muscular  movement  of  the  tongue  is 
used  both  for  the  aspirate  and  its  corre- 
spondences; but  in  the  case  of  the  latter 
the  breath  is  vocalised, — i.e.,  vibrated  by 
the  chords  of  the  larynx.  The  student 
should  make  each  element  the  subject  of 
separate  study  and  sound  it  by  itself, 
i.e.,  permit  nothing  more  to  escape  from 
the  organs  than  its  real  ''power.''  By 
this  means  only  can  any  defect  in  its 
formation  be  laid  bare. 


[3] 


Section  III. 

REDUNDANCIES    OF    CONSONANTS   IN 
THE   WRITTEN   ALPHABET. 


C  =  K  in  cant  or  S  in  cent. 
Q  =  K  +  W  in  queen,  quiver, 
quest,  etc. 
=  K  in  pique,  oblique,  etc. 
J )  =  D  +  ZH    in    jolly,    gem. 
Soft  G  f  George,  etc. 

CH  =  T  +  SH    in  church,  each, 
chant,  etc. 
=  K  in  chorus,  chaos,  etc. 
=  SH  in  champagne,  chande- 
lier, chef,  etc. 
X  =  K  +  S  in  exercise,  axe,  ex- 
tra, etc. 
=  G  +  Z  in  exist,  exact,  etc. 
=  K  +  Sh  in  luxury,  anxious, 

etc. 
=  Z    in    xanthic,    xylograph, 

xanthous,  xerosis,  etc. 
=  K  +  Z  in  the  second  x  of 
Xerxes  (Zerk-zes). 

[4] 


Section  IV. 
FORMATION  OF  CONSONANT  SOUNDS. 


T  is  a  percussion  produced  by  com- 
plete contact  and  separation  of  the  tip 
of  the  tongue  and  the  hard  palate  just 
above  the  roots  of  the  upper  teeth.  The 
issue  of  breath  must  be  checked  imme- 
diately the  organs  come  into  contact. 
The  breath  in  the  mouth  is  enough  to 
render  the  percussion  audible.  A  lax 
T  is  generally  produced  by  undue  as- 
piration, which  is  one  of  the  most  fre- 
quent causes  of  exhaustion  in  public 
speaking. 

D 

The  same  muscular  movement  is  used 
for  both  T  and  D.  Before  the  percus- 
sion is  made  in  the  case  of  the  latter, 
however,  the  soft  palate  is    raised,  and 

[5] 


GRADUATED  EXERCISES  IN  ARTICULATION 

the  vocal  chords  are  vibrated  until  the 
mouth  is  filled  with  breath.  This  vocal 
murmur,  lasting  until  the  pharynx  is 
fully  distended,  gives  a  sonorousness 
and  fulness  to  the  consonant. 

N 

If,  however,  the  soft  palate  is  allowed 
to  drop,  and  the  vibrations  flow  freely 
through  the  nose,  the  sound  of  N  re- 
sults. The  cessation  of  contact  of  the 
tongue  and  hard  palate  produces  only 
a  slight  percussion,  which  must,  how- 
ever, be  distinctly  made  in  order  to  finish 
the  articulation. 

In  the  case  of  T,  D,  and  N  we  have, 
therefore,  a  marked  instance  of  the  beau- 
tiful economy  of  Nature,  w^hereby  the 
same  muscular  movement,  accompanied 
by  modified  conditions  of  breath,  pro- 
duces three  distinct  consonant  sounds. 
The  same  relation  holds  good  in  the 
cases  of  P,  B,  M,  and  K,  G,  NG. 

[6] 


FORMATION   OF  CONSONANT  SOTTXP^ 

P 

The  sound  of  P  is  a  slight  percussion 
made  by  complete  contact  and  separation 
of  the  lips.  The  compressed  air  in  the 
mouth  makes  its  escape  and  causes  a  dis- 
tinct sound  to  be  heard.  Only  the  breath 
in  the  mouth,  and  not  that  in  the  lungs, 
must  be  used.  Therefore,  at  the  moment 
of  separation  the  breath  should  be  kept 
back,  otherwise  the  percussive  effect  will 
not  be  heard.  Too  much  breath  is  con- 
stantly used  in  the  production  of  this 
sound,  and  exhaustion  soon  results.  By 
making  from  fifty  to  sixty  percussions  of 
P  on  a  single  expiration,  the  teacher  can 
quickly  demonstrate  that  muscular  dex- 
terity, and  not  undue  aspiration,  pro- 
duces the  pure  sound. 

B 

If  the  soft  palate  is  raised,  and  the  sep- 
aration of  the  lips  is  preceded  by  vibra- 
tions of  the  vocal  chords  until  the  mouth 

[7] 


GRADUATED   EXERCISES  IN   ARTICULATION 
is  filled  with  air,  the  sound  of  B  results. 

M 

When,  on  the  other  hand,  the  soft 
palate  is  allowed  to  drop,  and  the  vibra- 
tions flow  freely  through  the  nose,  the 
sound  of  M  results.  The  separation  of 
the  lips  produces  only  a  slight  percus- 
sion, which,  however,  is  important  to  dis- 
tinctness. Here,  again,  the  economy  of 
Nature  gives  us  one  muscular  movement, 
acted  on  by  modified  conditions  of  breath, 
whereby  three  distinct  consonant  sounds 
are  produced. 

Nasality  and  its  Cause. 

Special  attention  must  be  directed  by 
the  teacher  to  the  essential  differences  be- 
tween B  and  M,  D  and  N,  and  the  move- 
ments of  the  soft  palate  in  each  case. 
The  trying  and  unusually  prevalent  fault 
of  nasality,  which  renders  English  speech 
so  piercing  and  harsh  to  the  musical  ear, 
is  due  in  the  majority  of  cases  to  a  c^rop- 

[8] 


FORMATION  OF  CONSONANT  SOUNDS 

ping  of  the  soft  palate.  The  latter  might 
be  compared,  in  the  nasal  pupil,  to  a  de- 
fective switch  whereby  a  train  of  vibra- 
tions is  partially  sent  out  by  way  of  the 
nose  instead  of  the  more  fitting  route  by 
way  of  the  mouth.  Nasality  is  purely 
the  result  of  mechanical  derangement,  and 
can  be  effectually  removed  with  time  and 
application. 

K 

To  produce  the  sound  of  K,  the  back 
part  of  the  tongue  comes  into  complete 
contact  with  the  soft  palate,  and  then 
separates.  A  percussion  results  from  the 
escape  of  the  compressed  air  at  the  back 
part  of  the  throat.  As  the  audibility  of 
this  sound  is  produced  with  almost  no 
expenditure  of  breath,  the  latter  must  be 
checked  before  the  tongue  and  soft  pal- 
ate separate.  As  we  have  pointed  out 
in  the  case  of  T  and  P,  the  student  must  be 
on  guard  against  undue  aspiration.  In- 
stead of  the  healthy  effect  produced  by 

[9] 


GRADUATED  EXERCISES  IN  ARTICULATION 

careful  use  of  the  voice,  this  fault  of  as- 
piration renders  a  speaker  difficult  to  be 
heard  and  quickly  exhausts  both  him 
and  his  voice. 

G 

When  the  separation  of  the  back  of 
the  tongue  from  the  soft  palate  is  preceded 
by  vibrations  of  the  vocal  chords  until  the 
back  part  of  the  throat  between  the 
larynx  and  the  soft  palate  is  filled  with 
vocalised  breath,  the  sound  of  G  results. 

NG 

If  these  vibrations  are  allowed  to  pass 
freely  through  the  nose,  the  sound  of  NG 
results  on  the  separation  of  the  tongue 
and  soft  palate.  Just  as  in  the  cases  of  P, 
B,  M,  and  T,  D,  N,  the  simple  muscular 
movement,  acted  on  by  modified  condi- 
tions of  breath,  results  in  three  distinct 
consonant  sounds. 

''Dropping  the  G." 
One  of  the  fallacies  of  speech  due  to  the 

[10] 


FORMATION  OF  CONSONANT  SOUNDS 


constant  confusion  of  the  written  sym- 
bol with  the  spoken  sound  is  the  so- 
called  "dropping  of  the  G";  e.g.,  in  the 
substitution  of  "singin  "  for  "singing," 
of  "dancin'  "  for  "dancing."  The  error 
arises  from  the  assumption  that 

the  sound  0/  NG  =  the  sound  0/  N  + 

the  sound  of  G. 

instead  of  recognising  that  NG  is  an  ar- 
bitrary symbol  to  represent  one  single 
indivisible  sound.  In  saying  "  drinkin'  " 
for  "drinking"  there  is  not  a  dropping 
of  the  G  in  speech,  though  of  course 
there  is  in  reducing  the  word  to  symbols. 
This  can  be  easily  proved  by  adding  the 
sound  of  G  to  the  N  in  "drinkin'  "  and 
listening  to  the  result.  In  this  fault  of 
articulation,  very  prevalent  in  certain 
sections,  the  substitution  of  a  nasal  pro- 
duced by  the  tip  of  the  tongue  against 
the  hard  palate  is  made  for  a  nasal  pro- 
duced by  the  back  of  the  tongue  in  con- 
tact with  the  soft  palate. 

[11] 


GRADUATED  EXERCISES  IN  ARTICULATION 

L 

In  the  perfect  formation  of  L,  the  most 
euphonious  of  the  consonants,  the  front 
part  of  the  tongue  is  applied  to  the  hard 
palate  in  the  position  of  T  and  D.  Vi- 
brated breath,  instead  of  being  confined 
within  the  mouth,  as  in  D  and  B,  is  allowed 
to  flow  freely  over  the  sides  of  the  tongue. 

The  Backward  L. 

Special  attention  is  needed  in  very 
many  cases  to  correct  the  malformation 
of  this  sound.  In  the  harsh-sounding, 
unmusical  backward  L,  the  tip  of  the 
tongue,  instead  of  being  in  the  front  of 
the  mouth,  is  raised  high  towards  the 
soft  palate.  With  the  throat  thus  com- 
pressed by  the  pressure  of  the  roots  of 
the  tongue,  the  unfortunate  L,  instead 
of  being  the  most  musical  of  sounds  with 
its  freely  flowing  vibrations,  degenerates 
into  a  harsh  guttural  noise. 

[12] 


FORMATION  OF  CONSONANT  SOUNDS 

T^he  Backward  R. 

The  backward  L  is  often  accompanied 
by  the  backward  R,  due  to  the  fact  that 
the  position  of  the  tongue  is  about  the 
same  in  both  barbarisms.* 

In  the  backward  R  the  tip  of  the  tongue 
is  raised  high  in  the  palatal  arch,  the 
throat  is  consequently  compressed,  and 
a  harsh  sound  is  the  result. 

R 

The  perfect  R  is  produced  by  a  vibra- 
tion of  the  tip  of  the  tongue  against  the 
front  palate  just  above  the  roots  of  the 
upper  teeth.  This  trilled  R  should  not  be 
made  by  a  vibration  of  the  uvula  (as  in 
the  case  of  the  Northumbrian  "burr") 
or  by  a  loose  approximation  of  the  lips. 
In  the  case  of  the  final  R,  so  purely  vocal 
that  it  almost  belongs  to  vowel  groups,  the 
tongue  is  raised  enough  to  meet  gently  the 

*  By  "  barbarism"  I  refer  to  the  per\'ersion  of  sound,  and  not  of 
meaning. 

[13] 


GRADUATED  EXERCISES  IN  ARTICULATION 

hard  palate.  This  movement  must  be 
smooth  without  the  slightest  vibration  or 
"burring."  If  this  soft  R  is  used  in 
positions  other  than  final, — e.g.,  in  heart, 
horse,  art,  curse,  etc., — it  must  be  sounded 
very  delicately. 

Many  tendencies  point  to  the  gradual 
elimination  of  the  soft  R  in  speech.  In 
Southern  English  it  is  now  omitted  en- 
tirely. In  "father,  go  farther  off,"  no 
difference  is  made  between  the  syllables 
"fa"  and  "far."  A  barbarous  exagge- 
ration in  the  form  of  a  harsh  grating 
sound,  resembling  a  "morose  grinding  of 
the  back  teeth,"  sometimes  made  by 
speakers  in  certain  sections  that  shall  be 
nameless,  cannot  be  indorsed  on  the 
grounds  of  expediency  nor  of  beauty. 
This  unmusical  sound,  probably  a  soft- 
ening of  the  Northumbrian  "burr"  or 
rough  Scotch  R,  may  be  characterised 
as  an  importation  that  has  not  been  suffi- 
ciently examined  at  the  custom-house; 
the  sooner  turned  out,  the  better  for  the 

[14] 


FORMATION  OF  CONSONANT  SOUNDS 

euphony  of  the  language.  Another  curi- 
ous aberration  from  correct  standards, 
owing  to  the  lack  of  attention  to  the  sub- 
ject of  articulation,  is  the  prevalence  of 
y  sound  for  the  soft  R;  e.g.,  the  eayly 
buyd  catches  the  wuym  (the  early  bird 
catches  the  worm). 

F  and  V 

The  sound  of  F  is  made  by  complete 
contact  of  the  lower  lip  with  the  edges  of 
the  upper  teeth,  followed  by  complete 
separation  to  give  a  slight  degree  of  per- 
cussiveness.  If  to  these  movements  the 
vibration  of  the  breath  as  it  passes  through 
the  larynx  is  added,  the  sound  of  V  re- 
sults. The  ungainly  formations  of  F  and 
V  by  protrusion  of  the  li'ps  are  carefully 
to  be  avoided.  The  upper  lip  has  no 
motion  in  these  letters.  The  under  lip 
rises  until  it  touches  the  upper  teeth. 
Faulty  formations  are  very  frequently  pro- 
duced by  twitching  of  the  upper  lip  and 
rolling  outwards  of  the  lower  lip. 

[15] 


GRADUATED  EXERCISES  IN  ARTICULATION 

S  and  Z 

For  the  hissing  sound  of  S  the  tongue 
comes  into  contact  with  the  hard  palate 
in  the  same  position  as  in  T,  D,  N.  The 
contact  is,  however,  partial  only,  as  the 
breath  is  allowed  to  escape  through  a 
narrow  opening  over  the  centre  of  the 
fore  part  of  the  tongue.  In  Z  the  same 
position  is  used  with  addition  of  vibrated 
breath.  The  dropping  of  the  tongue,  so 
that  contact  is  made  with  the  teeth  is  a 
prominent  factor  in  lax  articulation.  In 
the  various  cases  of  lisping  the  tongue 
is  generally  projected  between  the  teeth. 

SH  and  ZH 

If  the  tongue  is  retracted  from  the  posi- 
tion of  S  so  that  the  middle  rises  to  the 
hard  palate,  the  contact  becomes  close  and 
is  spread  over  a  wider  margin  of  the 
gums.  Thereby  the  current  of  breath 
produces  the  sound  of  SH.  When  vocal- 
ised breath  is  substituted  for  mere   as- 

[16] 


FORMATION  OF  CONSONANT  SOUNDS 

piratlon,  ZH  results.  This  sound  is 
heard  in  the  French  "je,"  and  in  "pleas- 
ure," "azure,"  "vision."  Owing  to  the 
unsatisfactory  state  of  our  written  al- 
phabet, which  is  both  defective  and  re- 
dundant, the  sound  is  represented  by 
varying  symbols. 

Projection  of  the  Lips. 

The  ugly  habit  of  thrusting  forward 
the  lips  in  the  formations  of  SII  and  ZH 
should  be  carefully  avoided.  Such  a 
movement  is  entirely  superfluous  and 
tends  to  prevent  any  repose  in  the  face. 
In  correct  articulation  a  good  general 
direction  is  that  the  lips  should  move 
in  the  vertical  and  not  in  the  horizontal 
direction. 

TH  and  DH 

The  sound  of  TH  (heard  in  thin,  thigh, 
thick,  etc.)  is  formed  by  complete  contact 
of  the  tip  of  the  tongue  with  the  inner 
surface  of  the  front  upper  teeth.     The 

[17] 


GRADUATED   EXERCISES   IN   ARTICULATION 

breath  is  forced  over  the  sides  of  the  front 
part  of  the  tongue.  Should  this  breath 
be  vibrated,  the  sound  of  DH  results, 
heard  in  then,  thee,  oaths,  clothe,  etc. 
Owing  to  the  deficiencies  of  our  alphabet, 
the  same  digraph  is  used  in  writing  to 
represent  both  sounds. 

Projection  of  the  Tongue. 

In  the  formation  of  TH  and  DH,  the 

tongue  should  not  he  placed  between,  nor 
projected  beyond,  the  teeth.  The  sounds 
can  be  formed  between  the  teeth,  but  the 
appearance  of  the  mouth  is  greatly  im- 
proved when  the  tongue  is  not  constantly 
obtruding  itself. 

HW  and  W 

In  the  production  of  the  sound  of  W 
the  lips  form  the  vowel  oo  with  a  slightly 
more  contracted  opening  and  are  then 
forcibly  jerked  apart.  In  the  voiceless 
formation  of  HW,  the  same  movements 
are  made  with  strong  initial  aspiration. 

[18] 


FORMATION  OF  CONSONANT  SOUNDS 


HY  and  Y 

The  sound  of  Y  is  formed  on  the  basis 
of  the  vowel  ee,  and  the  jaw  is  then 
dropped.  The  aspirate  form  HY  heard 
in  Hugh  (hyoo),  human  (hyooman),  etc., 
is  very  similar  in  sound  to  the  Scotch  ch. 

As  h  in  the  articulations  is  a  mere  forci- 
ble expulsion  of  breath,  it  does  not  rep- 
resent any  fixed  formation.  The  h  be- 
fore w  and  y  produces  respectively  a 
whispered  w  and  whispered  y. 


ri9] 


Section  V. 

THE  RHYTHMICAL  METHOD  OF 
ORAL  GYMNASTICS. 

The  processes  of  articulation  having 
been  laid  bare,  each  indivisible  element 
must  now  be  made  the  subject  of  sep- 
arate exercise.  Presuming  that  the  stu- 
dent can  utter  correctly  the  *' power'* 
of  each  consonant,  let  him  pronounce 
any  one  four  times  in  succession  with  all 
the  force  it  is  capable  of  receiving,  e.g.: — 

P-P-P-P 

Now  let  each  forceful  utterance  of  the 
"power"  be  followed  with  the  excep- 
tion of  the  last  by  one  less  forceful,  so 
that  the  first  is  "heavy"  and  the  second 
is  "light." 

e.^.,Pp-Pp-Pp-P 

The  forceful  utterance  may  be  fol- 
lowed by  two,  three,  or  even  more  light 
utterances. 

[20] 


METHOD  OF  ORAL  GYMNASTICS 

The  third  series  could  be  represented 
thus : — 

Ppp_Ppp_Ppp_P 

and  the  fourth  thus: —  \ 

Pppp  —  Pppp  —  Pppp  —  P 

Such  practice  will  give  the  student  three 
important  qualities  in  articulation. 

1.  Distinctness;  i.e.^  neatness  of  the 
accurate  contact  of  the  proper  organs. 

2.  Firmness  from  acquired  organic 
strength. 

3.  Fluency  in  the  easy  transition  from 
one  articulation  to  another.  Moreover, 
the  ear  will  be  trained  by  these  processes 
to  the  appreciation  of  rhythm, — a  sub- 
ject of  supreme  importance  in  the  con- 
sideration of  reading  poetry  or  prose. 
The  delight  of  rhythm  consists  in  the 
regular  repetition  on  the  ear  of  varied 
forceful  impressions  of  the  voice,  together 
with  their  division   by   pause.     The  ear 

[21] 


GRADUATED   EXERCISES   IN  ARTICULATION 

appreciates  a  varied  succession  of  sounds 
more  than  one  monotonous,  unvaried 
sound. 


RHYTHMICAL   EXERCISES  ON  THE 
POWERS  OF  CONSONANTS. 

1.  N  as  heard  in  n-u-n. 

(1)  N       -  N       -  N       -  N 

(2)  Nn     -Nn     -Nn     -N 

(3)    NnN      -NnN      -NnN      -N 

(4)  Nnnn  — Nnnn— Nnnn  —  N 

2.  T  as  heard  in  i-r. 

(1)  T       -  T       -  T       -  T 

(2)  Tt     -Tt     -Tt     -T 

(3)  Ttt    —  Ttt    —  Ttt    —  T 

(4)  Tttt  —  Tttt  —  Tttt  -  T 


[22] 


METHOD  OF  ORAL  GYMNASTICS 

3.  D  as  heard  in  a-dd. 

(1)  D       -D       -D       -D 

(2)  Dd      -Dd      -Dd      -D 

(3)  DdD      -DdD      -  DdD      -D 

(4)  DdDD—  DdDD  —  DdDD—  D 

4.  L  as  heard  in  sl-U. 

(1)  L      -  L      -  L       -  L 
(2)Ll     -Ll     -Ll     — L 

(3)LlL      —  LlL      —  LlL      —  L 

(4)  Llll—  Llll—  Llll—  L 

5.  R  as  heard  in  R-ow. 

^  (1)  R       -R       -R       -R 

(2)     Rr         -Rr         -Rr         -R 

(3)  Rrr    -Rrr    -Rrr    -R 

(4)  Rrrr  —  Rrrr  —  Rrrr— R 

[23] 


GRADUATED  EXERCISES  IN  ARTICULATION 

6.  M  as  heard  in  m-ai-m. 

(1)  M       -M       -M       -M 

(2)  Mm      -Mm      -Mm      -M 

(3)  Mmm    -Mmm    -Mmm   -M 

(4)  Mmmm-Mmmm-Mmmm-M 

7.  P  as  heard  in  p-o-p. 

(1)    P  -P  -P  -P 

(2)  Pp    -Pp    -Pp     -P 

(3)  PpP     -PpP      -PpP      -P 

(4)  PpPP— PpPP—  PpPP—  P 

8.  B  as  heard  in  e-bb. 

(1)  B       -B       -B       -B 

(2)  B  B     —  B  B     —  B  B     —  B 

(3)BbB     —  BbB     —  BbB      —  B 

(4)    BbBB  —  BbBB—  BbBB  —  B 

[24] 


METHOD  OF  ORAL  GYMNASTICS 

9.  K  as  heard  in  c-o-ck. 

(1)  K       -  K      -  K       -  K 

(2)  Kk     -Kk     -Kk     -K 

(3)     KkK     -KkK     -KkK     -K 

(4)  Kkkk— Kkkk— Kkkk- K 

10.  G  as  heard  in  e-^^. 

(1)  G       -G       -G       -G 
(2)Gg     — Gg     — Gg     — G 

(3)  Ggg    —  Ggg    —  Ggg    —  G 

(4)  Gggg  — Gggg  —  Gggg 


Note. — So  that  the  student's  attention  may  be  con- 
stantly directed  to  allied  consonant  sounds,  these  ryth- 
mical exercises  are  arranged  so  as  to  follow  the  sequence 
of  the  "powers  "  given  in  tabular  form  on  page  2. 


[25] 


GRADUATED  EXERCISES  IN  ARTICULATION 
11.  NG  as  heard  in  n-ng. 

(1)  NG    -NG    -NG    -NG 

(2)  NGng-NGng-NGng-NG 

NGngng      —  NGngng      — 

NGngng    —  NG 

NGngngng  -  NGngngng  — 
ng  ngngng  -  ng 


(3) 


(4) 


12.  F  as  heard  in  o-^. 

(1)  F      -F      -F      -F 

(2)  Ff         -Ff        -Ff        -F 

(3)  FfF     -FfF     -FfF     -F 

(4)  Ffff-Ffff— Ffff— F 


[26] 


METHOD  OF  ORAL   GYMNASTICS 


13.  V  as  heard  in  \o-ve. 

a)  V        -V        -V        -V 

(2)  VV         -VV         -VV  -V 

(3)  VvV      -VVV      -VVV      -V 

(4)  Vvvv- Vvvv- Vvvv- V 

14.  S  as  heard  in  hiss. 

(1)  S     -  S      -  S      -  s 

(2)Ss        -Ss        -Ss        -S 

(3)SSS     — SsS     — SsS     — S 

(4)  Ssss  —  Ssss  —  Ssss  —  S 

15.  Z  as  heard  in  bu-zz. 

(1)  Z      —  Z      —  Z      —  z 

(2)  Zz        -Zz         -Zz        -Z 

(3)  ZzZ     —  ZzZ     —  ZzZ     —  Z 

(4)  Zzzz- Zzzz- Zzzz- Z 

[27] 


GRADUATED  EXERCISES  IN  ARTICULATION 
16.  SH  as  heard  in  hxi-sh. 

(1)  SH    -SH    -SH    -SH 

(2)    SHsH-SHsH-SHsH-SH 

SHsHSH       -SHsHSH        —  ■ 

SHsHSH        -SH 

SHSH  SHSH-SHsH  SHSH- 
SH SHSHSH -SH 


(3) 


(4) 


17.  ZH  as  heard  in  a-z-ure. 

(1)  ZH    -ZH    -ZH    -ZH 

(2)    ZHZH-ZHZH-ZHZH-ZH 

ZHzHZH       —  ZHzHZH       — 

ZHzHZH       -ZH 

ZH  ZH  ZH  ZH  -  ZH  ZH  ZH  ZH  — 

(4)-{ 

ZH  ZH  ZH  ZH  -  ZH 


[28] 


METHOD  OF  ORAL  GYMNASTICS 


]^    18.  TH  as  heard  in  ha,-th. 

(1)  TH    -TH    -TH    -TH 

(2)  THth-THth-THth-TH 

THthth      -THthth      - 

THthth     —  TH 

TH  TH  TH  TH  -  TH  TH  TH  TH  - 

TH  THTHTH  —  TH 


t 


(3) 


(4) 


19.  DH  as  heard  in  ha-the. 

(1)  DH    -DH    -DH    -DH 

(2)  DHdh-DHdh-DHdh-DH 

DHdhdh      -DHdhdh      - 

DHdhdh     -DH 

DH  DH  DH  DH  -  DH  DH  DH  DH  - 
DH  DHDHDH-  DH 


(3) 


(4) 


[29] 


As 


GRADUATED  EXERCISES  IN  ARTICULATION 
20.  II W  as  heard  in  wh-at. 

(1)  HW-HW-HW-HW 

'HWhw  -HWhw 

HWhw        -HW 

H"W"hwhw     -HWhwhw     — 

HWhwhw    -HW 

H  WhW  HW  HW-  H  W^HW  HW  HW— 

HWhwhwhw-HW 


(2) 


(3) 


(4) 


21.  W  as  heard  in  w-e. 

(1)  W     -W     -W      -W 

(2)  Ww   -Ww   -Ww   -W 

(3)  "Www  — "Www -"Www- "W" 
"VVwww  —  "Wwww  — 

'W'www  — "W" 


(4) 


[301 


H 


METHOD  OF  ORAL  GYMNASTICS 
22.  HY  as  heard  in  Hu-gh. 

(1)  HY    -HY    -HY    -HY 

(2)  HYhy-HYhy-HYhy-HY 

H  Y  HY  HY        -  H  Y  HY  HY         - 

HYhyhy     -HY 

HYhyhyhy-  HYhyhyhy- 

H  Y  HY  HY  HY  —  H  Y 


(3) 


(4) 


23.  Y  as  heard  in  y-es. 

a)  Y      -Y      -Y      -Y 

(2)  Yy       -Yy       -Yy       -Y 

(3)  YyY      —  YyY      —  YyY      —  Y 

<4^    YyYY  — YyYY  — YyYY— Y 


rsi] 


Section  VI. 
DUAL  AKTICULATIONS. 


After  the  several  elements  under  varying 
degrees  of  stress  have  been  practised, 
a  step  further  is  to  be  made  in 
what  may  be  very  appropriately  termed 
WORD-BUILDING.  Having  acquired  the 
"power"  of  each  separate  element,  we 
may  proceed  to  combine  two  consonant 
elements  together  in  accordance  with  the 
following  method: — 

Firstly.  Let  both  elements  of  the  com- 
bination being  studied  be  pronounced 
separately  three  times  in  succession. 
Each  brick  for  our  word-building  is 
thereby  thoroughly  examined  to  see 
whether  it  has  been  turned  out  distinct 
in  outline  and  perfectly  finished.  Any 
defect  in  its  formation,  as  we  have  said 
before,  can  easily  be  laid  bare  by  this 
method. 


[32] 


DUAL  ARTICULATIONS 


Secondly.  We  then  combine  the  two 
elements  together  forcibly,  but  smoothly, 
throwing  into  the  combination  all  the 
voice  it  is  capable  of  receiving.  Two 
bricks  for  our  word-building  are  thus 
cemented  together  by  the  voice. 

Thirdly.  Then  lists  of  short  words  in 
which  these  combinations  occur  must  be 
taken  and  read  slowly  aloud,  with  the 
attention  strongly  focussed  on  the  par- 
ticular combination  that  is  being  made 
the  object  of  study.  Such  a  combination, 
being  made  the  subject  of  undivided  at- 
tention, will  receive  more  organic  effort 
than  the  other  constituents  of  the  word. 
The  exact  and  somewhat  exaggerated  ar- 
ticulation of  each  element  may  seem 
slightly  stiff  and  formal  at  first.  With 
practice,  however,  will  come  distinctness, 
firmness,  and  fluency  in  the  easy  tran- 
sition from  one  articulation  to  another. 


[33] 


DUAL  COMBINATIONS  WITH  N. 


Bejore  N. 


Aspirates      T  P  K     S  F 

Vocals D  L  DH  Z  V 


t-n 

rott'n,  writt'n,  mitten 

d-n 

sudden,  bidden,  hidden 

p-n 

open,  happen,  ripen 

1-n 

fall'n,  swoll'n 

k-n 

broken,  weaken,  blacken 

dh-n 

heathen 

s-n 

snake,  sneak,  snipe 

z~n 

prison,  risen,  brazen 

f-n 

often,  soften,  toughen 

1    ^-" 

haven,  oven,  driven 

[34] 


DUAL  COMBINATIONS  WITH  N. 


After  N. 


T  S  TH Aspirates 

D  Z Vocals 


n-t 

bent,  hunt,  tint 

n-d 

band,  second,  penn'd 

n-s 

wince,  tense,  pence 

n-z 

guns,  tens,  pens 

n-th 

pHnth,  tenth,  month 

r35i 


DUAL  COMBINATIONS  WITH  T. 
Before  T. 

Nasals N  M      ^nT^ 

Aspirates P  K  F  S  SH  I 

Vocals L  2\, 


n-t 

scent,  pent,  cant 

m-t 

attempt,  dreamt 

p-t 

hopp'd,  dipp'd,  cupp'd 

k-t 

lick'd,  wreck'd,  book'd 

f-t 

tuft,  loft,  raft 

s-t 

kiss'd,  post,  fist 

sh-t 

liush'd,  push'd,  crush'd 

1-t 

belt,  cult,  tilt 

[36] 


DUAL  COMBINATIONS  WITH  T. 


After  T. 


TN Nasals 
SSH Aspirates 
LRW Vocals 


t-n 

kitten,  bitt'n,  beat'n 

t-s 

hits,  puts,  seats 

t-sh 

each,  pitch,  fetch 

t-1 

tittle,  tattle,  settle 

t-r 

tray,  trick,  true 

t-w 

twice,  twelve,  twenty 

J37] 


43916( . 


DUAL  COMBINATIONS  WITH  D. 


Before  D. 

Nasals 
Vocals    . 


N  M  NG 

V  Z  DII   L  B    G 


v-d 

brav'd,  rov'd,  liiv'd 

z-d 

buzzed,  prais'd,  siz'd 

dh-d 

breath'd,  wreath'd,  writh'd 

n-d 

mind,  kind,  sand 

W 

told,  mild,  cull'd 

m-d 

ramm'd,  hummed,  rhym'd 

b-d 

webb'd,  brib'd,  orb'd 

ng-d 

hanged,  harangued,  winged 

g-<i 

begg'd,  hugg'd,  bragg'd 

[38] 


DUAL  COMBINATIONS  WITH  D. 


After  D. 


N Nasals 

TH      Aspirates 

L  R  Z  ZH  W Vocals 


d-n 

hidd'n,  sodd'n,  ridd'n 

d-th 

width,  breadth,  hundredth 

d-1 

ladle,  cuddle,  candle 

d-r 

dream,  draw,  dress 

d-z 

adds,  beds,  tides 

d-zh 

rage,  judge,  ridge 

d-w 

dwarf,  dwindle,  dwell 

[391 


DUAL    COMBINATIONS    WITH   L. 

Before  L. 

Nasals TW 

Aspirates      . TPKFS  I 

Vocals DBGVZ       IL^ 


t-1 

bottle,  fettle,  title 

d-1 

needle,  idle,  saddle 

p-1 

plough,  pleat,  plan 

b-1 

nibble,  cable,  blame 

k-1 

clove,  click,  clew 

g-1 

glade,  gloom,  glib 

f-1 

flame,  flight,  shuffle 

v-1 

hovel,  drivel,  shovel 

s-1 

sleet,  slime,  slow 

z-1 

muzzle,  puzzle,  sizzle 

Note. — Special  care  should  be  taken  with  the  com- 
binations tl,  dl,  pi,  bl,  kl,  gl,  fl,  vl.  Too  often  these  musical 
combinations  are  deprived  of  their  due  share  of  voice. 
Instead  of  the  easy  gUde  from  one  consonant  to  another, 
and  the  full  vibration  of  the  beautiful  L,  we  hear  that 
harsh  and  unrefined  intrusion  of  the  neutral  vowel;  e.g. 

tul,  dul,  pul,  etc.,  in  final  syllables. 

[40] 


DUAL   COMBINATIONS    WITH    L. 


After  L. 


L 


N  M Nasals 

TPFSKSHTH    .   .    .     Aspirates 
DBVZ Vocals 


1-n 

swoU'n,  faU'n 

1-t 

kilt,  halt,  fault 

1-d 

soil'd,  biU'd,  filed 

1-m 

elm,  helm,  film 

1-p 

help,  scalp,  pulp 

1-b 

Elbe,  bulb,  alb 

1-k 

elk,  silk,  bulk 

1-f 

elf,  shfilf ,  sylph 

1-v 

delve,  solve,  shelve 

1-s 

false,  pulse,  else 

1-z 

balls,  tolls,  bells 

1-sh 

Welsh 

1-th 

wealth,  stealth,  health 

J411 


DUAL  COMBINATIONS  WITH  M. 


Before  M. 

Aisoiratps 

THS    ]\f\ 

//\V/\l 

Vocals  .    .    . 

^^n\ 

th— m 

rhythm,  logarithm 

1-m 

film,  realm,  o'erwhelm 

s-m 

smile,  smite,  smear 

z-m 

chasm,  prism,  schism 

[42] 


DUAL  COMBINATIONS  WITH  M. 


After  31. 


TPFTH Aspirates 

D  Z Vocals 


m— t 

attempt,  contempt 

m-d 

entomb'd,  roam'd,  tiin'd 

m-p 

stamp,  lump,  limp 

m— z 

tombs,  harms,  beams 

m-f 

lymph,  nymph,  Humph-ry 

m— th 

warmth 

[43] 


DUAL  COMBINATIONS  WITH  P. 


Before  P. 
Nasals  .    .    . 

M      1 

■^■■^ 

Aspirates 
Vocals  .    .    . 

S 

L      - 

H 

m-p 

S-p 

1-p 

cramp,  limp,  bump 
spear,  speck,  spite 
gulp,  yelp.  Alp 

[44] 


DUAL   COMBINATIONS  WITH   P. 


After  P. 


N Nasals 

TSTH Aspirates 

L  R Vocals 


p-n 

op'n,  happ'n,  rip'n 

p-t 

IT 

wept,  kept,  grop'd 

P-1 

please,  plain,  plum 

p-s 

whips,  tops,  heaps 

p-r 

pray,  price,  prune 

p-th 

depth 

[45] 


DUAL  COMBINATIONS  WITH  B. 


Before  B. 
Nasals  .    .    . 

M 

1)5 

Vocals  .    .    . 

T. 

ni-b 
1-b 

rhomb,  succumb 
bulb,  alb 

[461 


DUAL   COMBINATIONS   WITH    B. 


After  B. 


Nasals 

DLRZW Vocals 


'  b-d 

barb'd,  ribb'd,  prob'd 

b-1 

bleat,  blight,  able 

b-r 

bream,  bright,  broom 

b-z 

babes,  gibes,  tubes 

b— w 

buoy,  buoyant 

[471 


DUAL  COMBINATIONS  WITH  K. 


Before  K. 

Nasal NG 

Aspirates      S 

Vocals L 


ng-k 

s-k 

1-k 


sink,  ink,  hunk 
risk,  disc,  bask 
hulk,  milk,  whelk 


[48] 


DUAL   COMBINATIONS  WITH  K. 


After  K. 


N Nasals 

T  S  SH Aspirates 

LRW Vocals 


k-n 

beckon,  thicken,  reckon 

k-t 

back'd,  act,  sack'd 

k-1 

claim,  clean,  climb 

k-s 

mix,  licks,  lacks 

k-r 

crown,  crony,  crumb 

k-sh 

ruction,  traction 

k-w 

quiver,  quire,  quorum 

[49] 


DUAL  COMBINATIONS  WITH   G. 


After  G. 


DLRZW Vocals 


g-d 

nagg'd,  lugg'd,  rigg'd 

g-1 

giggle,  glow,  glean 

g-r 

grey,  groom,  grow 

g-z 

pegs,  gigs,  sags 

g-W 

languid,  language,  Guelph 

[501 


DUAL  COMBINATIONS  WITH  NG. 


After  NG. 


KTH Aspirates 

D  Z Vocals 


ng-k 

wink,  sunk,  bank 

ng-d 

hanged,  twanged,  longed 

ng-th 

length,  strength 

ng-z 

songs,  brings,  tongues 

[51] 


DUAL    COMBINATIONS   WITH   F. 


Before  F. 

Nasals M 

Aspirates      S 

Vocals L 


n 


TTl-f 

S-f 

1-f 

nymph,  lymph,  Humph-ry 
spheroid,  sphinx,  spheric 
pelf,  golf,  gulf 

[52] 


DUAL   COMBINATIONS   WITH   F. 


After  F. 


a 


N Nasals 

T  S  TH Aspirates 

L  R Vocals 


f-n 

roughen,  soften,  toughen 

f-t 

drift,  raft,  puff'd 

f-1 

flax,  rifle,  ruffle 

f-s 

puffs,  coughs,  laughs 

f-r 

from,  frump,  freeze 

f-th 

fifth,  twelfth 

|53] 


DUAL 

COMBINATIONS  WITH  V. 

Before  V. 

Vocals L       ^/ 

¥ 

l-v 

revolve,  shelve,  solve 

[54] 


DUAL   COMBINATIONS  WITH   V. 


After  V. 


N Nasals 

DLZ Vocals 


v-n 

proven,  craven,  raven 

v-d 

swerved,  revived,  bereaved 

v-1 

swivel,  devil,  snivel 

v-z 

leaves,  groves,  waves 

[55] 


DUAL  COMBINATIONS  WITH  S. 


Before  S. 

Nasals N 

Aspirates      PKFTHT 

Vocals       L 


p-s 

sops,  cups,  hopes 

k-s 

axe,  picks,  fix 

f-s 

cuffs,  ruffs,  buffs 

th-s 

births,  sabbaths,  hearths 

n-s 

dunce,  mince,  sense 

t-s 

heats,  cuts,  pits 

1-s 

tulse,  else,  pulse 

[56] 


DUAL  COMBINATIONS  WITH   S. 


After  S. 


N  M Nasals 

TPKF Aspirates 

LW Vocals 


s-n 

snout,  fasten,  hasten 

s-t 

cost,  host,  mist 

s-1 

sleek,  tussle,  nestle 

s-m 

smear,  smoke,  smack 

s-p 

spot,  span,  speck 

s-w 

swim,  sweet,  swathe 

s-k 

sky,  scum,  rusk 

s-f 

spherule,  spheric 

[57] 


DUAL  COMBINATIONS  WITH  Z. 


Before  Z. 

Nasals N  M  NG 

Vocals V  DH  L  D  B    G 


v-z 

saves,  grieves,  loves 

dh-z 

breathes,  wreathes,  writhes 

1-z 

bills,  sells,  mauls 

n-z 

Huns,  sins,  wrens 

d-z 

pads,  bids,  sides 

m— z 

roams,  blames,  rhymes 

b-z 

ebbs,  robes,  cubes 

ng-z 

sings,  rungs,  brings 

g-z 

lugs,  legs,  lags 

[58] 


DUAL  COMBINATIONS  WITH  Z. 


After  Z. 


z 


NM Nasals 

D  L Vocals 


z-n 

mizen,  season,  reason 

z-d 

prized,  braised,  hazed 

z-m 

spasm,  catechism 

z-1 

drizzle,  dazzle,  hazel 

[59] 


DUAL  COMBINATIONS  WITH  Til. 

Bejore  TH. 

Nasals NG  N  M     pnT^  TT    TT 

Aspirates TP  I         I      || 

Vocals DL         il      nil 


ng-th 

length,  strength 

n-th 

seventh,  Corinth,  ninth 

t-th 

eighth 

d-th 

width,  breadth,  hundredth 

m— th 

warmth 

p-th 

depth 

1-th 

filth,  tilth,  stealth 

[60] 


DUAL  COMBINATIONS  WITH  TH. 

After  TH. 

TTTTr      M Nasals 
I       1 1       S Aspirates 
Jl     11      R  W Vocals 


tli-m 

rhythm,  logarithm 

th-s 

heaths,  deaths,  girths 

th-r 

three,  thrust,  threat 

th-w 

thwack,  thwart 

[61] 


DUAL  COMBINATIONS  WITH  R. 


Before  R. 

Aspirates 
Vocals  . 


F  SH  TH  T  P  K 
DBG 


f-r 

phrase,  free,  fright 

sh-r 

shrew,  shrink,  shrive 

th-r 

throw,  thrice,  through 

t-r 

try,  trust,  trim 

d-r 

drab,  drink,  dribble 

p-r 

prop,  prim,  print 

b-r 

bray,  brink,  brush 

k-r 

cream,  crime,  crust 

g-r 

grip,  grave,  grime 

[02] 


DUAL  COMBINATIONS   WITH  DH. 


After  DH. 


DH 


N      Nasals 

D  Z Vocals 


dh-n 
dh-d 
dh-z 

heathen 

breath'd,  lathed,  bathed 

lathes,  clothes,  paths 

[68] 


DUAL  COMBINATIONS  WITH  SH. 


Before  SH 

Aspirates T  K 

Vocals L 


t-sh 

k-sh 

1-sh 


beach,  such,  touch 
fiction,  luxury,  traction 
Welsh 


[641 


DUAL  COMBINATIONS  WITH  SH. 


After  SH 


T Aspirates 

R Vocals 


sh-t 
sh-r 

leash'd,  lash'd,  brush'd 
shrimp,  shrub,  shred 

[651 


DUAL  COMBINATIONS  WITH   ZH. 


Before  ZH 


Vocals 


"ZH 


m 


DUAL   COMBINATIONS  WITH  ZH. 


After  ZH 


Iff" 


Vocals 


zh-d 

rouged 

[67] 


DUAL   COMBINATIONS  WITH   W. 


Before  TV 


Aspirates T  K  S  TH 

Vocals      D  G  B 


t-w 

twinkle,  twitter,  tweak 

d-w 

D  wight,  dwelling,  dwarf 

k-w 

queen,  quite,  quest 

g_W 

guava,  guano,  penguin 

s-w 

swell,  swindle,  swum 

b— w 

buoy,  buoyant 

th-w 

thwack,  thwart 

Note. — Students  of  the  French  language  can  practise 
with  advantage  the  following  combinations  with  w,  which 
do  not  occur  in  English: — 

n-w  heard  in  7wir.  r-w  heard  in  roi. 

m-w  heard  in  moi.  f-w  heard  in  fois. 

p-w  heard  in  pois.  v-w  heard  in  vots. 
1-w  heard  in  loi. 


[68] 


Section  VII. 
TREBLE  ARTICULATIONS. 

The  next  step  in  word-building,  or  the 
practice  of  treble  articulations,  should 
proceed  in  a  way  similar  to  that  of  dual 
articulations. 

Firstly.  Each  element  of  the  treble 
articulation  should  be  pronounced  neatly 
and  distinctly  three  times  in  succession. 
In  other  words,  the  three  bricks  to  be 
cemented  together  should  be  examined 
critically. 

Secondly.  The  three  elements  are  then 
combined  together,  care  being  taken  that 
each  receives  its  due  share  of  voice  or 
muscular  effort.  The  three  bricks  are 
thus  cemented  together  by  the  voice. 

Thirdly.  Lists  of  short  words  should 
be  taken  and  read  slowly,  with  the  atten- 
tion strongly  concentrated  on  the  par- 
ticular combination  under  review.  The 
art  of  reading  slowly  without  the  slightest 

[69] 


GRADUATED   EXERCISES   IN   ARTICULATION 

affectation  results  mainly  from  the  ability 
to  dwell  upon  the  vocal  consonants.  The 
student  should  follow  the  injunction  of 
the  celebrated  Mrs.  Siddons: — 

"  Learn  to  speak  slowly.     All  other  graces 
Will  follow  in  their  proper  places." 


[70] 


TREBLE   ARTICULATIONS   ENDING    IN 
ASPIRATES. 


s 

LFS 

gulfs,  golfs,  sylphs 

MFS 

nymphs,  lymphs 

LKS 

silks,  elks,  baulks 

NGKS 

thanks,  winks,  lynx 

SKS 

desks,  risks,  husks 

LPS 

yelps,  Alps,  pulps 

MPS 

imps,  lumps,  romps 

SPS 

asps,  lisps,  clasps 

FTS 

thefts,  lifts,  tufts 

LTS 

bolts,  colts,  tilts 

NTS 

punts,  meants,  hints 

STS 

costs,  hosts,  lists 

DTHS 

breadths,      widths,       hun- 

dredths. 

FTHS 

fifths 

LTHS 

healths 

NGTHS 

lengths,  strengths 

SH 

LTSH 

belch,  gulch,  filch 

NTSH 

French,  bunch,  crunch 

[71] 


TREBLE   ARTICULATIONS    ENDING   IN 
ASPIRATES.     {Continued.) 


LFT 

LKT 

SKT 

LPT 

MPT 

BST 

DST 

FST 

GST 

KST 

LST 

MST 

NST 

NGST 

PST 

TST 

DHST 

VST 

TSHT 


Delft,  engulfed 
milked,  mulct 
asked,  risked,  basked 
yelped,  helped,  scalped 
jumped,  pumped,  stamped 
brib'st,  barb'st,   sobb'st 
amidst,  heard'st,   feared'st 
laugh'st,  puff'st,  snuff'st 
digg'st,  wagg'st,  hugg'st 
look'st,  mixed,  hoaxed 
fall'st,  repulsed,  convulsed 
com'st,  dream'st,  seem'st 
lanced,  rinsed,  against 
sing'st,  amongst,  hang'st 
dipp'st,  sipp'st,  hopp'st 
sat'st,  hurt'st,  put'st 
breath'st,  wreath'st,  writh'st 
curv'st,  leav'st,  sav'st 
fetched,  patched,  pitched 


[727 


TREBLE   ARTICULATIONS    ENDING   IN 

VOCALS. 


z 

LBZ 

bulbs,  albs 

LDZ 

folds,  colds,  builds 

NDZ 

bands,  bonds,  bends 

BLZ 

tables,  sables,  cables 

DLZ 

fondles,  bundles,  candles 

FLZ 

trifles,  ruffles,  snuffles 

GLZ 

giggles,  spangles,  shingles 

KLZ 

uncles,  buckles,  shackles 

PLZ 

topples,  steeples,  ripples 

TLZ 

bottles,  titles,  turtles 

ZLZ 

fizzles,  dazzles,  puzzles 

LMZ 

elms,  films,  o'erwhelms 

ZMZ 

prisms,  chasms,  schisms 
blackens,  sickens,  thickens 

KNZ 

PNZ 

opens,  ripens,  happens 

SNZ 

listens,  fastens,  hastens 

ZNZ 

prisons,  reasons,  seasons 

LVZ 

wolves,  solves,  delves 

ZH 

LDZH 

bulge,  bilge 

NDZH 

range,  singe,  cringe 

[73] 


TREBLE   ARTICULATIONS   ENDING   IN 
VOCALS.     (Continued.) 


D 


LBD 

bulbed 

BLD 

troubled,  nibbled,  hobbled 

DLD 

riddled,  cradled,  toddled 

FLD 

trifled,  muffled,  stifled 

GLD 
KLD 

giggled,  haggled,  tingled 
cackled,  buckled,  sprinkled 

PLD 
SLD 

rippled,  grappled,  tippled 
nestled,  bustled,  tussled 

TLD 

battled,  settled,  rattled 

VLD 

traveled,  driveled, 

sniveled 

ZLD 

puzzled,  drizzled,  muzzled 

LMD 

o'erwhelmed,  filmed 

KND 

blackened,  wakened. 

reckoned 

PND 
SND 

ripened,  happened,  opened 
listened,  hastened,  fastened 

ZND 

brazened,  reasoned,  impris- 

oned 

LVD 

involved,  shelved,  solved 

DZHD 
NZD 

bridged,  judged,  urged 
bronzed 

[74] 


Section  VIII. 
QUADRUPLE  ARTICULATIONS. 

Note. — In  the  practice  of  quadruple  articulations  and 
those  of  Sections  IX.  and  X.  the  student  must  proceed 
by  the  three  steps  similar  to  those  illustrated  for  dual 
and  treble  articulations. 

QUADRUPLE  ARTICULATIONS  ENDING 
IN  ASPIRATES. 


BDST 

sobbed'st,  curbed'st, 

rib  bed 'st 

GDST 
LDST 

hugged'st,  bragged'st, 

wagged'st 
mould'st,  hold'st,  hurled'st 

MDST 

roamed'st,  rhymed'st, 
armed'st 

NDST 

loaned'st,  found'st. 

burned'st 

NGDST 
DHDST 

hanged'st,  winged'st, 

longed'st 
smoothed'st,  writhed'st, 

wreathed'st 

VDST 

carved'st,  braved'st, 

heaved'st 

ZDST 

grazed'st,  praised'st, 
prized'st 

[75] 


QUADRUPLE  ARTICULATIONS  ENDING 
IN  ASPIRATES.     (Continued.) 


ZHDST 

rouged'st 

LKST 

sulk'st,  milk'st 

NGKST 

wiiik'st,  tliuuk'st,  bank'st 

SKST 

risk'st,  mask'st,  whisk'st 

BLST 

nibbl'st,  hobbl'st,  troubl'st 

DLST 

handl'st,  fondl'st,  bundl'st 

FLST 

trifl'st,  ruffl'st,  stifl'st 

GLST 

wrigofl'st,  haggl'st,  dangl'st 

KLST 

pickl'st,  tackl'st,  trickl'st 

PLST 
SLST 

coupl'st,  rippl'st  grappl'st 
tussl'st,  hustl'st,  iiestl'st 

TLST 

battl'st,  settl'st,  bottl'st 

VLST 

snivel'st,  drivel'st,  shovel'st 

ZLST 

puzzl'st,  muzzl'st,  frizzl'st 

KNST 

beckon'st,  blacken'st, 

sicken'st 

PNST 

SNST 

open'st,  ripen'st,  happen'st 
hasten'st,  listen'st,  fasten'st 

ZNST 

imprison'st,  reason'st, 

scason'st 

LPST 
FTST 

help'st,  yelp'st,  scalp'st 
laughed'st,  puffed'st, 
waft'st 

[76] 


QUADRUPLE  ARTICULATIONS  ENDING 
IN  ASPIRATES.     {Continued.) 


KTST 

remarked' st,  embarked' st, 

corked'st 

LTST 

halt'st,  built'st,  felt'st 

MTST 

attempt'st,  tempt'st, 

dreamt'st 

NTST 

want'st,  punt'st,  sent'st 

PTST 

supped'st,  hoped'st, 

whipped'st 

STST 

post'st,  eost'st,  list'st 

SHTST 

hushed'st,  pushed'st, 

brushed'st 

LTSHT 

filched,  belched,  squelched 

NTSHT 

flinched,  bunched,  crunched 

LFTHS 

twelfths 

LKTS 

mulcts 

QUADRUPLE  ARTICULATIONS  ENDING 
IN  VOCALS. 


NDZHD 
LDZHD 


changed,  ranged,  singed 
bulged,  bilged 


[77] 


Section  IX. 

QUINTUPLE   ARTICULATIONS 
ENDING   IN   ASPIRATES. 


LBDST 

bulbed'st 

BLDST 

troubled'st,     nibbled'st, 

stabled'st 

DLDST 

cradled'st,  fondled'st, 

handled'st 

FLDST 

trifled'st,     ruffled'st,     sti- 

fled'st 

GLDST 

hag^led'st,   mangled'st, 

giggled'st 

KLDST 

buckled'st,     pickled'st. 

suckled'st 

PLDSr 

rippled'st,  suppled'st, 

coupled'st 

SLDST 

nestled'st,  bustled'st, 

hustled'st 

TLDST 

settled'st,  battled'st. 

wittled'st 

VLDST 

traveled'st,    sniveled'st, 

marveled'st 

ZLDST 

puzzled'st,    muzzled'st, 

frizzled'st 

KNDST 

sickened'st,   blackened'st, 

thickened'st 

[78] 


QUINTUPLE   ARTICULATIONS   ENDING 
IN  ASPIRATES.     (Coyitinued.) 


SNDST 

hastened'st,  fastened'st, 

listened'st 

ZNDST 

reasoned'st,  seasoned'st, 

imprisoned'st 

LMDST 

o'erwhelmed'st,  filmed'st 

LVDST 

shelved'st,  revolved'st, 

solved'st 

DZHDST 

judged'st,  edged'st, 

bridged'st 

LKTST 

mulct'st,  milked'st 

LPTST 

helped'st,  scalped'st. 

MPTST 

pulped'st 
stamped'st,  cramped'st 

NSTST 

winced'st,  fenced'st, 

bounced'st 

r79i 


Section  X. 

SEXTUPLE   ARTICULATIONS 
ENDING   IN   ASPIRATES. 


LTSHTST 
NDZHDST 
NTSHTST 
LDZHDST 


filclied'st,  belched'st, 

squelclied'st 
changed'st,  singed'st, 

arranged'st 
crimched'st,  flinched'st, 

biinched'st 
bulged'st,  bilged'st 


rsoi 


Section  XI. 

THE    IMPORTANCE    OF    NASALS    AND 
VOCALS  IN  SPEECH. 

For  purposes  of  effective  and  musical 
speech  the  differences  between  the  three 
classes  of  consonant  sounds  can  be  em- 
phasised by  showing  that  the  vocals  and 
nasals  are  capable  of  receiving  musical 
expression. 

(a)  They  can  be  prolonged  on  a  note. 

(6)  They  can  be  varied  in  pitch 
either  by  (1)  a  musical  slide 
or  by  (2)  going  up  and  down  the 
scale  on  single  notes. 

Instead  of  being,  therefore,  mere  whis- 
perings incapable  of  being  dwelt  upon, 
these  vocal  and  nasal  consonants  are  of 
equal  importance  with  the  vowels  in  the 
equipment  of  a  good  speaker.  Here  we 
have  one  of  the  great  secrets  of  effective 
and    beautiful    speech.     The    power    of 

[SI] 


GRADUATED   EXERCISES   IN   ARTICULATION 

dwelling  on  the  vocal  consonants  is,  in 
the  majority  of  cases^  the  result  of  delib- 
erate practice  alone.  The  uncultivated 
speaker  is  immediately  betrayed  by  his 
curtailment  of  the  vocal  consonants.  His 
attention  never  having  been  directed  to 
their  power  in  speech,  they  are,  in  his 
mouth,  deprived  of  their  due  share  of 
voice,  and  differ  only  slightly  from  their 
corresponding  aspirates;  e.g.,  sup-stance 
for  substance,  second  for  seconcZ,  reco^*- 
nise  for  reco^-nise,  etc.  The  cultivated 
speaker,  on  the  contrary,  dwells  upon 
these  vocals,  throws  into  them  all  the 
voice  they  are  capable  of  receiving,  and 
thereby  mellows  his  whole  enunciation. 

If  this  matter  were  uniformly  attended 
to,  there  would  be  an  end  to  the  re- 
proaches heaped  upon  the  head  of  poor 
neglected  English  by  foreigners  on  the 
ground  of  the  lack  of  musical  qualities  in 
the  language.  We  have  not,  it  is  true, 
a  great  preponderance  of  the  more  open 
vowel  sounds,  so  suited  to  the  notes  of 

[82] 


NASALS  AND  VOCALS   IN   SPEECH 

song;  but  our  clusters  of  consonants, 
when  not  neglected  and  deprived  of  their 
due  vocality,  give  a  strength  and  dignity 
that  well  compensate  for  the  lack  of  open 
vowel  sounds  in  the  language. 


[831 


Section  XII. 
CONCLUSION. 


Correct  articulation  must  be  taught  on 
the  plan  here  set  forth.  With  the  sub- 
ject presented  as  a  separate  study  by 
itself,  the  instructor  has  a  simple  method 
of  imparting  and  the  pupil  a  ready 
means  of  acquiring  the  first  and  most 
important  point  in  the  management  of 
the  voice. 

The  advantages  of  diligent  elementary 
practice  are  obvious.  Not  the  smallest 
vibration  is  wasted,  and  every  sound  is 
made  to  tell.  The  speaker,  therefore, 
with  a  moderate  voice,  but  accurate  and 
distinct  articulation,  may  make  himself 
heard  without  effort  at  a  greater  dis- 
tance, and  consequently  can  be  better 
understood,  than  one  who,  with  a  strong 
voice,  but  bad  articulation,  dissipates  the 
sound  in  confusion. 


[84] 


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